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home·artworks·Einzug König Etzels in Wien (zweiter Entwurf)
Einzug König Etzels in Wien (zweiter Entwurf) by Albin Egger-Lienz

plate no. 1158

Einzug König Etzels in Wien (zweiter Entwurf)

Albin Egger-Lienz, 1908

canvas, oilExpressionismhistory paintingfiguresprocessionhistoricalflagsroyaltyarmor
some experience helpful

Recreating this painting will help students practice simplifying complex scenes into basic shapes and using a limited color palette to create a unified atmosphere. It also provides an opportunity to study figure drawing and composition in a historical context.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
2

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the overall composition, focusing on the placement of the figures and key elements.

  2. step 02

    Establish the background color with a thin wash of burnt sienna and raw umber.

  3. step 03

    Block in the main shapes of the figures and flags, using simplified forms and basic colors.

  4. step 04

    Develop the figures' details, paying attention to the folds of the clothing and the highlights on the armor.

  5. step 05

    Add the flags and other decorative elements, using bolder brushstrokes and brighter colors.

  6. step 06

    Refine the overall composition, adjusting the values and colors as needed.

  7. step 07

    Add final details and highlights to create depth and interest.

  8. step 08

    Glaze with a thin layer of medium to unify the colors and add a subtle sheen.

color palette

primary · burnt sienna · raw umber · ivory black

secondary · cadmium red · yellow ochre · titanium white

Mix burnt sienna and raw umber for the background and shadows. Use cadmium red and yellow ochre for the flags and clothing. Add titanium white to lighten colors and create highlights.

techniques

  • ·blocking in
  • ·dry brushing
  • ·scumbling
  • ·glazing
  • ·limited palette

common pitfalls

  • →Getting bogged down in details too early.
  • →Overworking the colors and losing the freshness of the brushstrokes.
  • →Failing to simplify the forms and values.
  • →Not establishing a strong focal point.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt sienna oil paint
  • ·raw umber oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·assorted brushes (flat and round)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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oil painting for beginners →how to learn by studying the masters →
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